Creative Process: Studio Performance
I had established the space as an imaginary house-studio. The space awareness went from large to intimate and then expanded to the outside. I presented myself as a research artist. The piece was described as “intimate, smart, fusion and romantic”.
Now that you have your readers' attention, let them know right from the start that the recipe has been tried and tested. Share a quote from one of your happy readers who have tried the recipe out for themselves. You can always add in the quote later once you receive comments from readers, like this:
Building - City
The performance began with staging the video. I used the word “staging” since the audience went through the “watching journey” with me. I cooperated my body with the handy projector (like the bricks) and projected the moving images onto A4 paper. Then, I invited the audience to acknowledge the scenery with my movement dance inspired by the construction sites.
In the second part of the performance, I shared my interview experience in the “unfinished studio” with the audience and invited them to imagine the space as the “unfinished house”. They became their favourite furniture in the house and were divided into different parts of the space. With respect to all the beautiful stories I heard from the interview, I also shared mine in the studio, and the “house” became my intimate space. I was born and raised in the same house, and my parents would probably live there until the end of their lives.
House - Room
After sharing my house description, I delved into the connection with the people in the house, my parents. I shared my feelings towards my mother and performed a dance tribute to the journey of a girl becoming a woman, and then having her own girl. It was supposed to be a dance about motherhood, but in the end, it was about “growing up”.
Every kid has their own way of playing. I further invited the audience to enter my personal space. I traveled between the audience and whispered my memories about my home, my city under the red cloth. Everyone had their own memories and led by some keywords, the connection was beyond culture and location.
From collective memory to personal memory, I transformed the memory track to the projection of the future through my body, text, cloth, space, and video. Many people move because of their children's education, putting their own lives aside. By listening to the voices of foreign children, how many versions would that be for our own kids?
After the showing, Evelyn hosted a post-show feedback session with the audience. And we have a good conversation with the audience. For example:
“This performance is a “fusion” to me. There’re a lot of cultural symbols, for example, the way you fold the cloth, the long red visual created by my gesture…”
This intrigues me to further dig into the difference between “fusion” and “hybridity”. Since I work with displacement, and the location of culture, I am aware of what the perception difference triggers by the same image and the nature of one’s hybrid mind and body.
“It is an intimate performance, how do you maintain this intimate relationship in a 100 person capacity performance?”
To me, this performance is a precious chance to put the concept of “hybridity” in a mutual communication process. In my performance, I shared my story while the audience participated and shared their voices too. Therefore, I am not going to give up this relationship in the future. And I would further research the possibilities of alternative producing methods. (See critical reflection)
“It is also good to introduce your space to the audience. You should own it. ”
An experienced art maker reminds me that I should own the space. Yes, communication should be without hierarchy. My “non-performative” approach already states that. In fact, they appreciate my interactive approach, from minimal to intimate, so I can take a braver step to further own the space, so as to “make-believe” and guide the fellows to travel with me.
All in all, all of us had a warming and inspiring afternoon.